Pictures 

In 
Language Work 

Weaver 



i ■'■';■ 



LIBRARY OF CONGRESS, 

- — 

Chap Copyright No 

ShelfcUJ S6 



UNITED STATES OF AMERICA. 



PICTURES 



IN 



LANGUAGE WORK 



BY 



/ 

W_ WEAVER 

SECOND EDITION, FROM NEW PLATES 




rwfa 



SYRACUSE, H". Y. 

C. W. BARDEEN, PUBLISHER 

1896 



Copyright, 1896, by C. W. Bardeen 



L^y. ' 



CONTENTS 



Introduction 

Chap. I. Pictures in Beginning Classes 
Chap. II. Home-Made Charts 
Chap. III. Second Year Work 
Chap. IV. Third Year Work 



Chap. V. 
Chap. VI. 



Page 

9 
13 
20 
24 
29 



Fourth and Fifth Year Work 36 



Advanced Work 40 

Chap. VII. Miscellaneous Suggestions - 45 

Chap. VIII. Collecting and Arranging Pic- 
tures ... . 48 

Pictures for Class Work 54 



(7) 



INTRODUCTION 



The translation of thought into spoken and 
written language, and the translation of written 
and printed language into thought, should be two 
co-ordinate aims in primary school work. 

The true object of teaching reading is to enable 
the pupil to get the thought which the author puts 
into his language. The prevailing practices in 
many schools assume that the chief object of teach- 
ing primary reading is to teach the pupil to pro- 
nounce certain words. This practice is a funda- 
mental error in education. Pupils by the present 
practices are led to infer that reading is the process 
of successively naming the words of the exercise ; 
that studying a reading lesson is poring over the 
words ; and later, they infer that studying a his- 
tory or grammar lesson is saying the words to them- 
selves, and that reciting the lesson is nothing more 
or less than repeating those same words. 

If pupils from the first day in school would learn 
that every word is the sign of an idea : that no 

(9) 



10 PICTURES IN LANGUAGE WORK 

word is fully known until it has revealed to them 
the idea behind it ; and if this were emphasized 
throughout the primary grades, it would be impos- 
sible for the higher grade pupils to pore over lessons 
for hours without a suspicion of the meaning of the 
text. 

The material used for teaching primary reading 
should contain thoughts attractive enough to enlist 
the child's interest. This is being recognized by 
compilers of recently published series of reading 
books. 

Composition should be taught before reading ; 
especially in the primary grades should the daily 
advance steps in reading be preceded by similar 
advance steps in spoken or written composition. 

Composition is the translation of thoughts and 
ideas into words and sentences. In the process, 
thought is a pre-requisite. From whence shall the 
thoughts come ? Children think by suggestion. 

Objects, of which a limited supply is available, 
and pictures, which can be secured in abundance, 
should be used to suggest thoughts for these compo- 
sition exercises in the primary grades. 

It is the object of this monograph to show how 
pictures may be used and how they should be used 



INTRODUCTION 11 

in the various grades of school work as aids in 
teaching English composition. The methods here 
outlined may perhaps not effect an entire cure of 
the evil of thoughtless reading, but that they will 
assist in producing better results is the hope of the 
author. 



CHAPTER I 



PICTURES IN BEGINNING CLASSES 

In an other place we shall speak of the collection 
and proper arrangement of material for this work. 
Pictures for use in any class should be well printed 
and attractive. For primary classes it is essential 
that the pictures should contain but one prominent 
feature. The frontispiece to this work is given 
as a model in this respect. In it a great deal is 
suggested and very little is shown. 

Before proceeding with a description of the class 
work, a word about class-teaching, in general may 
not be amiss. 

The object of intellectual education is training in 
right thinking and instruction in knowledge ; but 
instruction is valuable only when it leads to assimi- 
lation on the part of the pupil, and assimilation 
comes only by thinking ; so, therefore, briefly, the 
business of the teacher is to keep the mind of the 
child at work in the proper channels. 

The aim of the teacher in the following picture 
(13) 



14 PICTURES IN LANGUAGE WORK 

lesson should be to keep the minds of all the chil- 
dren before her at work upon the material before 
them. This can not be done in primary classes by 
talking to them. Nor are all the pupils led to 
thinking, where the business of answering the 
queries of the teacher is by tacit consent delegated 
to a few of the most favored in the class. Gener- 
ally, the questions should be for all pupils ; although 
occasionally questions may be framed for the bene- 
fit of a particular pupil. 

Concert answers may serve a purpose in reviews, 
but are never to be allowed where questions are 
primarily intended for instruction. v 

Questions intended for instruction should not be 
addressed to any individual pupil. Pupils should 
be encouraged to raise their hands or give some 
other signal when ready to answer such a question. 
After sufficient time has elapsed for even a dull 
pupil to have an answer ready, one or two pupils in 
succession may be called upon to answer. 

If a class is well trained, something like the fol- 
lowing is the result. A question is asked. Some 
hands go up at once, these are re-inforced until the 
majority of the hands are up. A pupil is asked to 
answer. The answer is given. No sign of approval 



IN BEGINNING CLASSES 15 

or disapproval comes from the teacher. Some 
hands go down. The owners evidently endorse the 
answer just given. Of those whose hands remain 
up, another one is called, more hands go down. 
This gives the teacher an opportunity to follow the 
mental operations of each one. 

If desired, pupils may arise from their seats 
instead of raising their hands. Or where a series 
of questions is asked, a definition to be developed, 
or a problem to be solved, the pupils may be 
required to write their answers to the several 
questions, and, if necessary, number them to corres- 
pond to the order of the questions. 

Let us suppose that every pupil in our class has a 
copy in sight of the picture on the following page. 
If possible, all should have copies on their desks or 
in their hands. 

By skilful questions, draw out of the children 
sentences and write the same on the blackboard. 
The sentences must be the children's own. The 
thoughts expressed must be of their own thinking, 
and as soon as possible they should be taught to 
give expression to them in complete sentences. 
After a short exercise, and all exercises in this class 
should be short, the following may be on the black- 
board. 



IN BEGINNING CLASSES 17 

This is Joe. 

Joe has a broom. 

He is a poor boy. 

This is the children's first composition and if 
adroitly managed they will feel that it is their 
own. 

Several days may be spent in adding to this com- 
position, and after the whole is completed the several 
parts should be copied on charts and preserved for 
frequent reviews and drills. 

The following charts were actually prepared from 
this engraving by a class : 

I 
I see Joe. 
Joe has a broom. 
He is a poor boy. 

II 

Joe sees a man. 

I cannot see the man. 

He says, " Good morning." 

Ill 
Joe can work for the man. 
He wants money to buy shoes. 
Joe does not beg. 



18 PICTURES IN LANGUAGE WORK 

IV 

Joe has a sister. 

She cannot work. 

He is kind to her. 

This, then, was the process of translating the 

child's thought into written forms. The reading 

lesson followed, and in it the same word-forms were 

placed in different relations, and the process was to 

translate the new combinations in thought. 

In the same series with the above were a number 

of reading charts from which I selected these : 

I 

The poor boy has no hat. 

A man sees the boy and buy* a hat for him. 

The boy says, " Thank you.'' 

He is a kind man. 

II 

A man can ivork for money. 

He can buy his boy a hat. 

The boy -can not work. 

The boy has a sister. 

The man will buy shoes for her. 

Ill 

The poor broom can not work. 

The broom can not say " Good morning." 

Has the broom a hatf 



IN BEGINNING CLASSES 19 

As the vocabularies of the children become 
enlarged, the reading lessons increase in attract- 
iveness and interest. The reading lesson should 
appear familiar enough to tempt them to see ' ' what 
it says ". It is a great mistake to have pictures 
with every reading lesson. The children read from 
the pictures and not from the words. 

Throughout the first year this work should be 
continued. The new words which are to enter into 
the children's vocabularies should always be intro- 
duced in the composition lessons before they enter 
into the reading lesson. 

While this distinction of composition and read- 
ing lessons is made here for convenience, it is not 
necessary that the two be separated in teaching. I 
will repeat that reading and composition are two 
co-ordinate subjects, and should go hand-in-hand 
throughout the primary school course, at least. 

During the latter part of the year, a little inde- 
pendent work may perhaps be expected from the 
pupils in composition but it should consist exclu- 
sively of picture work. 



CHAPTER II 



HOME-MADE CHARTS 

The blackboard is undoubtedly the most valuable 
piece of school-furniture. For purposes of instruc- 
tion nothing takes the place of it, and the statement 
that the best school is that which is founded on 
chalk needs no qualification. Instruction is neces- 
sary to enable the pupil to acquire knowledge, but 
frequent repetition of the acquired knowledge is 
necessary to fix the same in the mind of the child. 

The chief objection to the blackboard is the 
necessity for erasing the exercises from day to day, 
and whenever it is desired to review former lessons 
considerable time is required to prepare them. 
This difficulty can easily be met by copying the 
exercises on suitable charts. The following descrip- 
tion will enable any teacher, with a little skill, to 
prepare a supply of convenient charts with compar- 
atively little labor and a trifling expense. These 
charts have advantages over the ones prepared by 

publishers. For primary education, where a con- 

(20) 



HOME-MADE CHARTS 21 

sideration of the individual is of the highest im- 
portance, it is well nigh impossible to secure a chart 
or book suited to the widely different classes. The 
teacher alone knows the wants of the small children, 
and it is possible for her to prepare the reading 
charts for her own classes. 

The support can be prepared by any mechanic, 
or perhaps by a pupil of the school. It consists of 
an upright two inches square and six or seven feet 
high. Where the school-room has a raised plat- 
form, a hole may be cut into one comer of it, into 
which the upright may be fitted . In the absence of 
a platform, the upright may be fitted into a block 
of wood. The top of the upright has a tenon 
which fits into the mortise in the middle of a cross- 
piece two inches square and from two to three feet 
long. To this cross-piece are nailed the charts, 
and one cross-piece should be secured for each 
set of charts. The mortise-joint should be just 
free enough to allow the cross-piece to which the 
charts are attached to be readily removed and 
replaced by another. The top of this cross-piece 
may have a groove into which the different charts 
may be more securely fastened ; but it will be 
found sufficient to place the chart across this cross- 



22 PICTURES IN LANGUAGE WORK 

piece and to tack on a thin strip across the top, 
driving flat-headed nails through the strip and 
charts. 

With this arrangement both sides of the chart 
may be used equally well. It is generally best to 
fasten the sheets to the cross-piece and print them 
afterwards. A heavy manilla paper, which can be 
secured at almost auy store, in sheets 24x40 inches, 
will answer every purpose. For small charts the 
sheets may be fastened at the middle ; for longer 
charts, at the ends. For printing the charts a large 
sized shading-pen, which can be secured from any 
school-supply dealer for 25 cents, is excellent. A 
little practice according to the directions which 
accompany each pen, will enable any teacher to 
write with it as freely and rapidly as with chalk. 
Should pictures be desired, they can be cut from 
magazines and pasted on the charts. 

If it is not possible to secure or use the support 
mentioned above, the charts may be made of single 
sheets of manilla paper, folded once and hung over 
a string stretched between two nails driven into the 
wall. 

It is hardly necessary for me to say in this con- 
nection that all the charts should be prepared with 



HOME-MADE CHARTS 23 

the greatest care, and that not only the letters and 
figures but the arrangement and general appear- 
ance should be worthy of imitation. This is a 
particular recommendation for charts, that being 
permanent, the teacher can afford to spend more 
time in the preparation of them than in putting 
lessons on the blackboard. 



CHAPTER III 



SECOND YEAR WORK 

A few weeks ago I came into a primary grade 
during the language period. Picture cards were 
distributed and the pupils were told to write about 
the pictures. No hint, no explanation, no prelim- 
inary " drawing out " of pupils, no instruction. 

The pupils worked painfully and slowly ; every 
now and then some little hand would go up as 
a signal of distress, and in response to a request 
the teacher would write an unknown word upon the 
blackboard. 

After a reasonable time the slates were examined. 
One of them contained this exercise neatly written : 
I see a tree. 
I see a boy. 
I see apples. 
The boy has a basket. 
I see a fence. 
There was little variety. 
The sentences were limited to what was seen. 

(24) 



SECOND YEAR WORK 25 

There was no little value in the exercise. The 
children had been trained to know that they did 
not know the spelling of a word. They had been 
taught to write script fairly well and to use periods 
and capitals. The exercise, however was almost 
entirely devoted to training in the mechanical parts 
of seeing and writing. It was right that the exer- 
cise should be this but it should have been at same 
time a thought exercise. 

How can these lessons be arranged not only 
so that the child sees the object before the eye, but so 
that these objects may stir up the wells of thought 
within him ? 

The methods followed in many text-books serve 
the purpose admirably, but these need to be supple- 
mented by additional lessons. This is the objection 
to the books, that the pupils having them and turn- 
ing over and over the pages become familiar with 
the pictures before they take them up in class, and 
consequently lack that interest which is taken in 
new things. 

Let the reader bear in mind that while we are 
considering the use of pictures we are not forgetting 
that there are many other ways of teaching lan- 
guage, and that many other exercises should be 



26 PICTURES IN LANGUAGE WORK 

given ; and that these picture lessons are but a part 
of the work in language-teaching. 

This morning, I went before a class of fifty second- 
year pupils, and put into the hands of each one a 
copy of the picture on page 16. 

" Can any one see an apple tree? " I asked, and 
without saying anything more I told them that we 
were going to write something on the board about 
this picture ; that I would write and they should 
tell me what to write. " As soon as any one can 
think of something to write I am ready.'" .Many 
hands went up. I called on a boy and as he spelled 
the words I wrote the sentence : 

The boy has a broom. 

I erased the first two words and told them I 
wanted a better word for their place. All began to 
think. Several hands went up. Several words 
were given and used as subjects. One boy sug- 
gested, "Sam," and the sentence : 

Sam has a broom, 
was the choice of the class, so the others were 
erased. After fifteen minutes, we had : 

Sam has a broom. 

He will try and get some apples for his mother. 

He will take them home in his hat. 



SECOND YEAR WORK 27 

His mother will cook the apples for dinner. 

Sam's father will buy him a new coat. 

While writing this I purposely omitted periods, 
and made mistakes in capitals, and took care to 
commend those who noticed the mistakes. After the 
work was written I called the attention of the class 
more particularly, to the new words ; apples, buy, 
cook, broom, were all examined. The lesson was 
then erased and all began to write on their slates. 

After thirty minutes, forty out of fifty pupils had 
written the exercise on their slates ; many of them 
without the variation of a word : some, with a few 
words changed, but having at the same time correct 
sentences. 

This was a lesson in language. The apostrophe 
was introduced for the first time and all of them 
had used it correctly. The words were spelled cor- 
rectly and the writing was neat. It was a lesson in 
observation, the imagination was exercised, and 
probably the memory training was the most valu- 
able part of the lesson. Without a conscious effort 
they retained an exercise equal to a page of their 
reader. 

It is important that such exercises should be writ- 
ten in a clear, bold hand so that it may be readily 
seen from all parts of the room. 



28 PICTURES IN LANGUAGE WORK 

At first, until the class is properly trained, the 
blackboard composition may be copied instead of 
being written from memory ; but it will form an 
invaluable training if pupils are taught to observe 
the whole of a thing at a time, which they are 
required to do, if it is to be erased before they 
begin to copy it. It will save much time during 
their school-life if they are taught this. 

Odd minutes of the day may be used for a drill 
like the following. Let sentences be written, short, 
at first, and gradually lengthened ; let the pupils 
have just a glance at them then erase and require 
the pupils to write them. Making a contest of this 
ex rcise will add zest to it. 



CHAPTER IV 



THE THIRD YEAR 

In the third year the pupil should begin to write 
with a special aim. The description of objects, 
class-mates, and pictures is made the special work 
of this grade in many courses of study. The teacher 
of the ungraded school may inquire what he shall 
do in the absence of a course of study. Let me 
repeat here that particularly in primary classes 
reading and composition should be taught together. 
It is easy to do this in ungraded schools. After 
the class has finished the reading lesson, the com- 
position work may be explained before the pupils 
are sent to their seats. Every day's composition 
should aim to require pupils to use the new words 
which will appear in the reading lesson of the 
following day ; as well as the new words of the 
preceding days. 

Such excellent methods for teaching description 
are given in Principles of Teaching, by Prof. J. T. 
Gaines, that I need do no more here than refer to 
them. 



30 PICTURES IN LANGUAGE WORK 

In all those lessons in which the aim is instruc- 
tion, the whole class should have copies of the 
same picture. In composition, however, they need 
much training, and for purposes of training it may 
be desirable for the different pupils to have differ- 
ent pictures. After the exercises are written collect 
the pictures and compositions and appoint a com- 
mittee of two or three pupils to pin the pictures to 
compositions which are supposed to describe them. 
A number of cards having on them the same geomet- 
rical units in different positions may be distributed. 
At first, the pictures should vary considerably, but 
as the pupils acquire more and more skill the varia- 
tion may be less and less. Descriptions which do 
not enable the committee to select readily the object 
or picture described may be re-writtcn by the 
authors. 

A book of methods which has until recently been 
very widely used as a text-book in Normal schools 
and Reading Circles contains the following " Meth- 
ods ", among others, for teaching composition : 

Teach pupils to describe objects; men with whom they are 
familiar, houses and each other. 

Teach them to use the period, interrogation, etc., the hyphen 
and apostrophe. 

This is a fair specimen from the old books on 



THE THIRD YEAR 31 

Methods of Teaching. What possible assistance 
such directions could have been to the young teacher 
is not easily to be seen : but the examinations 
required the candidate to be proficient in Methods 
and he studied the subject for the examination. 
He perhaps took the book along to school the first 
day, and tried to follow it conscientiously. He did 
not get far in the book until he met a quotation like 
the one given above. 

" Teach the pupil to describe objects." How could 
he teach, if he had never learned, himself. In his 
day and generation, the schools did not teach pupils 
to describe objects. " But," you say, " a teacher is 
not supposed to be entirely devoid of sense." Very 
true, but the author of such books admitted that 
the teacher was unable to help himself and wrote a 
book to aid him ; the teacher desired to secure the 
wisdom of experience and turned to the book and 
found it not ; and finally he relapsed into the hope- 
less condition of plodding his daily round of routine 
work. 

The normal schools of the past and unfortunately 
a few of the present have the same tendency to stifle 
their pupils. In Methods they show what is to be 
done and what is to be avoided, yet make few 
attempts to show how things are to be taught. 



32 PICTURES IN LANGUAGE WORK 

The test of the correctness of a description is that 
it will enable the reader to form the same mental 
picture that existed in the mind of the author. 
Our ideas of words depend largely upon our experi- 
ence, andjfas no two persons have had the same 
experiences, the meanings attached by any number 
of persons to a given sentence must necessarily vary 
greatly. 

A description is a word-picture and the same 
rules that are followed by the artists may be con- 
sidered as governing the formation of word-pictures. 
Every picture contains one or more prominent 
objects to which all the rest are subsidiary. The 
description aims to seize upon the various features in 
the order of their relative importance. - The advan- 
tages of a print or a sketch over a word-picture are 
the advantages of the finished house over a pile of 
building material : the one is ready for us to enjoy ; 
the other we build as we gather the elements from the 
several sentences. A good word picture therefore, 
aims to introduce the whole of the subject to the mind 
simultaneously, and, consequently, the details are 
omitted but the prominent features are described in 
such a way as to suggest their surroundings. 

The following familiar example from Shakspere 
illustrates this : 



THE THIRD YEAR 



33 



But look, the morn in russet mantle clad 
Walks o'er the dew of yon high eastern hill. 

A description should concern itself with the 
appearance, the actions, and the position of the 
object described. How are these things to be 
taught ? 

Let us suppose our subject is the following picture. 




It will be enough for one lesson probably to have 
pupils form sentences describing the positions of the 
different persons : 

These persons sit in the kitchen. 

Grandfather sits by the table. 

Emma stands by his knee. 



34 PICTURES IN LANGUAGE WORK 

John stands by his side near the table. 

Their mother sits behind the table near the hearth. 

If the pupils are slow in doing this repeat the 
exercise for several days with similar pictures. 
After this step has been well learned, let the pictures 
be taken again and the actions of the several persons 
described. 

Grandfather holds up a toy and laughs. John tries 
to get it and Emma cries for it. Their mother laughs 
at them. 

After this step has been learned they may be 
taught to describe the several persons. To do this 
it is advisable to begin with simpler figures. The 
following picture would do well for this purpose. 




After these steps have been well learned a lesson 
like the above may, with simple pictures, be given* 



THE THIRD YEAR 35 

and the several steps required in one or more days. 
Here I wish to protest against the prevailing 
method of supposing that young children can do 
no composition or language work aside from filling 
out blanks. The advocates of this system would 
suggest this method. Let the teacher write on the 
board sentences like the following : 

Grandfather is a toy. 

John is to get it. 

Emma is for it. 

Others would recommend the teachers to write a 
series of questions and require the child to write the 
answers. Neither of these methods is likely to 
give the children the power of independent work, 
and both are based upon the " supposition that the 
child has no brains ". 



CHAPTER V 

FOURTH AND FIFTH YEARS 

Story writing may be required before the pupil 
has passed the third year ; but in the fourth and 
fifth years, story writing may be made a special 
aim. Description necessarily enters into every 
story. Besides describing the appearance of the 
personages or objects when writing a story, the 
story- writer gives their history, and the work of 
teaching story-writing may be made of special 
moral value, if pupils are led to express their judg- 
ments of the actions or characters under considera- 
tion. 

By this time children should have learned the 
art of sentence-making and it should be possible to 
lead them to divide their composition into para- 
graphs. 

Suppose that a picture is assigned, and the sen- 
tences are written on the board as they are given 
by the pupils. Afterwards, lead the pupils to col- 
lect the sentences that are related in thought, into 
paragraphs. 

(36) 



FOURTH AND FIFTH YEARS 



37 



The composition given below was selected from a 
number that were written about the picture which 




is here given. The class had been drilled in this 



38 PICTURES IN LANGUAGE WORK 

kind of work for nearly a year and had spent two 
periods of forty minutes each on this subject. 

JOHN AND MARY 

John lives in a small house. He is nice, neat boy. He has a 
little sister. Her name is Mary. 

One day John was helping his mother. When the work was 
done, his mother sent him on an errand. His sister went with 
him 

When they came down the street they saw some boys throw 
stones at a kitten. The boys ran away from it to go after a big 
wagon which came by. 

Mary and John saw the poor little kitten, and took it home. 
Their mother gave them some milk for it. The little kitten is 
most afraid to drink the milk. 

I think boys should be kind to animals. 

The following composition selected from a num- 
ber written about the picture on page 16, illustrates 
the same point : 

THE POOR BOY 

Once there was a lady who was very poor. I suppose her 
husband was dead, or she would not have been quite so poor. 
Her little son, whose name was Joe, was a very good boy. So 
he tried to earn money. Do you want to know how he did it ? 
Well, I will tell you. It looks to me like he goes around clean- 
ing sidewalks. From the way he looks in the picture, he looks 
like he has finished his work for a lady, and is holding out his 
hat to get his pay. 

I can see the trees, and they look very shady, little Joe looks 
cool, in his bare feet. I suppose Joe lives in a house, if he has 



FOURTH AND FIFTH YEARS 39 

one to live in. When night comes, little Joe will go to bed and 
sleep all night long. Then he will dream of what he has done 
for his mother. Then when it is morning, he will go out and 
work till night again. I think if all girls and boys would do as 
Joe does, there would be less trouble in the world. 

No school exercise has for its special aim the cul- 
tivation of the imaginative powers of the child. 
They may be exercised in the study of geography 
and history ; but it is only incidentally. These 
picture-lessons may be arranged so that they may 
become excellent means to this end. 

A picture represents one of a series of actions or 
events. The child in writing a story from a picture 
makes an effort in imagination to reproduce the 
whole series leading up to and following what is 
depicted in the illustration. He is performing the 
same operations which the scientist perforins when 
he restores the extinct animal from a fossil bone ; 
or the archaeologist who restores a buried building 
from the broken ruins. 



CHAPTER VI 



ADVANCED WORK 

I assigned the following picture to a class which had 




• 



ADVANCED WORK 41 

been trained considerably in this kind of work. 
They were expected to select their own subjects and 
do their own writing. 

Among the compositions I found some with the 
following suggestive yet widely different subjects : 

The German Student. 

Evils of Smoking. 

Why the Dog Follows him. 

Cruelty to Animals. 

How Big he Feels ! 

The Dog-Trainer off Duty. 

In the higher grades the culture of the imagina- 
tion by means of picture-lessons may be carried on 
still farther. The dullest boy could write a compo- 
sition about the picture on the following page, and 
almost any girl would want to say something about 
what it suggested to her. 

Advanced pupils should not have so much assist- 
ance as those in lower grades. 

The picture following was given to a High School 
Class and the exercises showed that many of the 
pupils gave the subject no little study. It may be 
considered a model subject for such an exercise. 
It is suggestive and yet leaves nearly every detail 
to be filled out by the pupil. 

Pictures of historical events are of great value, 



£--x 




ADVANCED WORK 43 

as are also pictures of places. When a pupil has 
been taught to describe pictures of landscapes he 
can better understand the text of his geography 
lesson. 

But pictures need not be required. After the 
drill in descriptive and story-writing which has 
been indicated in the preceeding pages pupils 
should be prepared to do independent work of no 
mean order. 

I have a very distinct recollection of my first 
composition. I was about twelve years old and had 
never had a previous drill. The teacher distrbuted 
a number of sheets of paper on which he had before 
written the subjects. Education was the one that 
fell to my lot. I can now see the sheet. I remem- 
ber too that it was a very clean, white sheet, with 
the subject written at the top in a highly orna- 
mental style, and I remember that when it was 
finished one page was entirely filled and the other 
about half. And I can see how they were filled ; 
but I do not remember what was written on it. 

The teaching of composition has vastly improved 
since that time, and it is due to the high order of 
the training which the masses are now receiving 
that the editorial rooms of our newspapers and 



44 PICTURES IN LANGUAGE WORK 

magazines are being deluged with such torrents of 
manuscripts, of which a thousandth part of the 
really meritorous ones never come to the light. 

But the methods indicated above are no better 
now than twenty years ago, and while an occasional 
pupil may be able to write on abstract subjects yet 
the large number need something more suggestive. 

Assign to pupils Washington for a subject and 
they will hand you a very satisfactory compilation 
or facts from the encyclopaedia and the history ; but 
describe for your class as A^ividly as possible a cer- 
tain scene in the career of Washington and assign 
it for a subject, and they will take pleasure in 
describing the events that lead up to and spring 
from the incident : if properly trained they will add 
comments of their own, as the narrative progresses. 

I said to a class a few days ago, " I have in mind 
a picture of a boy, a policeman and a pig ; " and 
requested them to write a composition using these 
characters. I received some amusing and strik- 
ingly original compositions. 



CHAPTER VII 



MISCELLANEOUS SUGGESTIONS 

Children should be taught by method ; not neces- 
sarily by a method but by some method. In graded 
schools it is important that the children be required 
to work according to the same methods. 

In primary grades the compositions are generally 
written on properly ruled slates. It is easy to 
secure a systematic arrangement. 

Nothing looks so slovenly as a bundle of papers, 
of assorted colors, assorted sizes, irregular edges ; 
some written with pencil ; others, with red ink ; 
others, with black ; some, having the name at the 
top ; others, elsewhere ; and many with no name 
at all. 

I give herewith a method not claiming that it is 
better than others, but merely as a suggestion for 
the arrangement of written work. 

For pencil, a pad 8x10 inches is perhaps most 

desirable. The paper should be unruled, and of 

such a quality that a card with ruled lines, placed 

(45) 



46 PICTURES IN LANGUAGE WORK 

underneath it, will afford sufficient guide to those 
who need it. On this card there should be a short 
line on the upper left hand corner for the name, 
and at the right for the date. A little below this 
and in the middle another short line for the subject. 
The other lines should not be less than a half-inch 
apart, and a marginal line three-fourths of an inch 
from the left edge of the paper is often found con- 
venient, 

Too little time is spent in finishing the composition 
and too little consideration is given to the com- 
position by the teachers. In all advanced classes 
the corrected composition should be copied on good 
paper with pen and ink in a neat style. It is more 
desirable for the pupils to have composition books 
into which to copy their finished and corrected 
work. The Bull tin Composition Bool- is an excel- 
lent one. If it is used the teacher should closely 
follow the methods of correcting compositions there 
given. 

What a refhetion on the teacher is it to find the 
composition books of a class carelessly written, 
blotted, torn, and mutilated ; to have in them incor- 
rect spelling, careless punctuation and entire lack of 
arrangement ! 



MISCELLANEOUS SUGGESTIONS 47 

Whether the compositions are written od paper 
or in books the pupils should be particularly 
encouraged to take a just pride in their work. It 
will add to the value of the exercise, if they are 
taught to ornament them, and for this purpose it is 
well to have at hand a book of ornamental letters, 
tail-pieces and head-pieces. 

A device that may be used in primary classes 
with good results is to clear the platform, and have 
several pupils arranged in a tableau, or performing 
a pantomime for the class to describe. A little 
stage might be erected in one corner, and the pupils 
having the most creditable exercises might be 
appointed to arrange the tableau for a succeeding 
lesson. 

A few days ago in a second reader class, I took 
out a boy and girl, and gave one a brush the other 
a broom. We had a few chairs and a small table 
placed on the platform. I told the two to go in and 
" play housekeeping"; the others were to describe 
what they saw. The exercise was much enjoyed 
and the results were highly gratifying. 



CHAPTER VIII 



COLLECTING AND ARRANGING PICTURES 

Those who attend educational meetings often 
hear the common complaints of the teachers whose 
success would be unbounded if their committee 
would only furnish them the necessary apparatus. 
Whenever a method is proposed they are ready to 
endorse it but think it out of the question for them 
to make anything out of it under the conditions sur- 
rounding them. Our hopes for educational progress 
do not depend on such ; but on those who are will- 
ing " to prove all things " by a fair trial " and hold 
fast to that which is good." 

As was stated before, two classes of pictures are 
needed. Of a few pictures enough copies should 
be secured to supply every member of the class. 
These are to be used for instructing pupils as has 
been intimated in the foregoing pages. In addition 
to these a great variety of suitable pictures should 
be collected on which the pupils are to try their 
independendent efforts. For doing this every pupil 

(48) 



COLCECTING AND ARRANGING PICTURES 49 

may have a different picture ; although it may be a 
saving of time to the teacher, if all the pupils have 
the same picture for this purpose. 

As these pictures are collected, let boxes with 
proper labels be provided for them ; and after they 
have been used let them be returned to their boxes 
and laid away for another year. Such things are 
the working tools of the teacher's profession, and we 
should expect him to be provided with these things 
as well as expect the physician to be provided with 
his box of surgical instruments. For a teacher of 
an ungraded school who requires only a few copies 
of each picture, a Globe letter file will be a conven- 
ience for keeping a collection classified and easily 
accessible. A supply of card-board boxes, neatly 
labelled, will serve all purposes. 

Below we give a simple classification. 

In graded schools a single classification will prove 
sufficient. For an ungraded school classifications 
for the several grades may prove necessary. 
I. Language. 

1. Simple Descriptions. 

2. Complete Descriptions. 

3. Subjects for Stories. 
II. Moral Lessons. 



50 PICTURES IN LANGUAGE WORK 

III. Object Lessons. 

IV. Geography. 

1. Natural forms. 

2. Cities, &c, &c. 
V. History. 

Of course many pictures will serve several of these 
purposes. Each box may contain envelopes in which 
the classification is made closer. Tims in the box 
containing pictures for Moral Lessons there may be 
envelopes containing subjects for teaching kindness, 
helpfulness, patriotism, &c, &c. 

Collections of miscellaneous pictures may easily 
be made. A well-printed wood-engraving is always 
to be preferred to a badly colored advertising card. 
In making collections teachers should remember 
that they are educating the tastes of their pupils. 

If I may be allowed to digress once more from 
my subject, I wish to say that every primary teacher 
should have a table with a collection of picture 
scrap-books, to which the little folks may be allowed 
to go when they have finished their work. An 
indestructible scrap book may be made by sewing- 
together in book -form variously colored pieces of 
silesia and pasting the pictures on with flour-paste. 

I cannot close without making an apology to my 



COLLECTING AND ARRANGING PICTURES 51 

readers for burdening this essay with seemingly 
trifling details ; but my experience as a teacher 
has convinced me that we err in forgetting that the 
success of the whole depends on a thorough knowl- 
edge and careful execution of the details of daily 
work, and that attention to the more trifling details 
of teaching may make what would otherwise be 
weary plodding, a work of joy and satisfaction. 



Specimen Pictures 

for 
CLASS WORK 



Simple descriptions, - - - Nos. 1-7 

Fuller descriptions, - Nos. 8-15 

Subjects for Stories - - - Nos. 16-77 

History, Nos. 78-83 



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LIST OF PUBLICATIONS 



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(2) 



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